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Railroad Museum, Carson City, Nevada.
John H, White, Jr., Transportation Curator of the Smithsonian Institution, described No. 1005 as "one of the very oldest American freight cars in existence ..." Originally built at a cost of $800 in 1872 by the Central Pacific Railroad Shops at Sacramento, the outside braced combination boxcar first saw service on the Virginia & Truckee early in 1873.
The choice of this particular type of car, with its open and/or closed style of doors and windows, proved superior very early to transporting not only merchandise, but perishable supplies and livestock. Since the V&T had very little rolling stock of its own, and rented locomotives, passenger and freight cars from the Central Pacific in the first years, it is not surprising that when the need arose for cars that the V&T chose to order them from the CP.
Identified as a combination boxcar, the yellow painted No. 1005 was one of five CP built boxcars that enabled the V&T to carry a multitude of loads. Originally furnished with hazardous link and pin couplers and hand operated brakes, new ICC rules laid down in the late 1890's compelled the V&T to equip the car with a safer type of coupler and Westinghouse air brakes. It was also during this decade the 30,000 lb. capacity car lost the distinctive vented side and end doors when shop crews converted it into a more conventional style.
Because of its restricted carrying capacity, No. 1005 saw limited service after the early 1900's. By 1916, records indicate the 43 year-old boxcar was no longer listed on the roster as the V&T's freight business fell short to warrant upgrading the car. No. 1005 was then detrucked and used as a tool house at Scales for the next 20 years. Then in 1933, to fulfill Paramount Pictures' request for vintage railroad rolling stock for their film epic "Union Pacific," the wooden car body was resurrected, placed on trucks and shipped to the movie location in Utah.
Sometimes all it takes is being alone in a field of grass with nature all around to make you feel at peace. We often find our lives consumed with the hustle of daily life and it takes a trip to our happy place to find our center. I don't have to pack too long or travel too far to find my reason for being. My backyard is a wonderland of mystery just waiting to be explored. I may never be anything more than someone you once knew. My only hope is that a piece of me remains to be explored long after I am gone.
I often wonder why I have been placed on this earth. Is it to carry a gun so that you can feel safe and free? I have done that. Is it to change an infinite number of watch batteries so that you can make it to work on time? I have done that too. Or is it to simply capture a moment so that you can experience something you may never see from a side of the planet I have never been? In time the gun will be replaced with something more advanced and the watch battery will be long since expired. My ticket will have been punched, but I hope the life I lived will remain for others to experience for eternity. That is the power of a camera!!!
Horfield Parish Church
Although no documentary evidence of the foundation of the church appears to be in existence, there is some evidence that there could well have been a place of Christian worship at Horfield from a very early date. Until the building of the school in 1838 (for which authority to enclose part of the common was granted) the churchyard was completely circular in form.
Horfield appears in the Domesday Book as 'Horfelle in Langlei Hundred, the property of the King in Horfelle VII hides'. The book was compiled principally to record the extent, value and ownership of the lands, therefore the omission of a direct reference to an actual church building by no means precludes its existence. The Anglo-Saxon church would have been constructed of timber – tree trunks sawn in half, lengthways, would have formed the “pillars” of the nave and the spaces, in between, would have been of wattle and daub construction; the roof being of thatch.
n 1893 the church was considerably enlarged by removing the chancel and rebuilding it on a larger scale eastwards of a high central lantern tower, together with a Lady Chapel and short transepts. The south transept was completed with an eastern door and porch in 1921 and the north transept was constructed to include a sacristy with organ chamber over it in 1929. This constituted the church as we see it today, with the exception of the removal of the chancel screen, the repositioning of the font to the south transept and the formation of St. Edmund's chapel. The Stations of the Cross were originally in St. Edmund's church.
The organ, built in 1885 by Palmer of Kings Square, Bristol, was originally situated in the north chancel aisle. In 1927, it was moved to a purpose-built chamber above the new Sacristy with a detached console in the choir. It remained in this state until 1973, when Percy Daniel of Clevedon electrified the action and carried out numerous tonal modifications. At some stage, a fine tuba stop was removed. By 1994, the organ was in desperate need of a major overhaul and, following the receipt of a generous legacy, this work was very ably carried out by E. A. Cawston; weaknesses in the action were addressed and several new stops added, including a number of mutations and a Great Trumpet. In 2015, a new solid-state action was installed by Nicholson’s of Worcester, and the opportunity was taken to revoice the Trumpet (now playable on both the Swell and Great), to add a sub-octave coupler on the Swell and to stabilise the winding system. The result is a fine and versatile instrument, ideally suited to the needs of the church.
Taken with a Nikon D7000
Unsmoked ham, wholegrain mustard, mayonnaise, Flora (obviously), and some Boursin. The most awesome sandwich in existence.
The day starts slowly for these railway boys. They sleep under photos of goddesses.
They are close friends with the main gang leader in this railway station. Gang leaders are boys in their late teens or early 20s who often beat and manipulate younger boys. They introduce sniffing glue to new boys, creating the dependency they need to stay in control.
Photo © 2012 IMB / Graham HIll
“We are strange beings, we seem to go free, but we go in chains - chains of training, custom, convention, association, environment - in a word, Circumstance - and against these bonds the strongest of us struggle in vain” - Mark Twain
like a transformer
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Unanimously believed to be the most teddy bear like creatures in existence, Huggy Bears are lovable and squeezable, we invite you to give it a hug right now! And as you do so you will see that it uses its plush like exterior to lure in prey such as small children, the depressed, and odd old ladies who will collect anything. Ingenious camouflage! Another of natures truly endless series of lies and deceits brought here for your enjoyment.
Posted by Second Life Resident Torley Olmstead. Visit IBM 2.
History of Kraków
First indications of the existence of Krakow approximately stem from the 7th century. In the next following centuries the tribe of Vistulans (Wislanie) populated Krakow, after they centuries ago in the as "Lesser Poland" or Malopolska known region had settled down. From the year 965 stems the first document from Krakow, as Abraham ben Jacob of Cordova, a Jewish merchant, in his book referred to the trading center of Krakow.
In 1000, the Diocese of Krakow was founded and in 1038 declared capital of the Piast dynasty. The Wawel castle and several churches were built in the 11th century and thus the town rapidly grew. 1241 the Mongols invaded the city and burned down Krakow without exception. 1138 Krakow became the seat of the senior prince. 1257 Kraków was awarded its town charter and a city map was drawn up, which remained until today. This one included the arrangement of the checkerboard street configuration with a centrally located market. On the market following the seat of the city government was built. From the historical trading functions until today only the Cloth Halls remained. But on the market not only trade agreements were closed but also courtly and urban festivities celebrated. Furthermore, the urban center served for executions. The defensive walls were built, which surrounded the city and linked it to the Wawel. In the south of Wawel Castle in 1335 the city of Kazimierz was created. By Royal command it was surrounded by defense walls and the churches of St. Catherine, of Corpus Christi and the "Na Skalce" were built. End of the 15th century, Jews settled the later Cracow district. 1364 the Cracow Academy of King Kazimierz Wielki was founded, the famous Polish Jagellonen-University.
With the last king of Jagellonian dynasty, Krakow flourished. The Wawel castle was rebuilt in Renaissance style, the well known Zygmunt chapel was built and the Cloth Halls as well as the patrician houses have been restored. During the reign of King Sigismund III. Vasa the baroque style received introduction in Krakow. The Baroque University Church of St. Anne and the Church of Saints Peter and Paul were built in this period. In 1607 Warsaw was declared headquarters of the King, but Krakow retained its title of the Royal capital. Furthermore, it remained the place of coronations and funerals. Middle of the 17th century, the city was devastated by the Swedes, what at the beginning of the 18th century was produced again.
After the first partition of Poland, Krakow became a frontier town. Austria declared the settlement Podgorze separated city. After the second division in 1794, began the Polish national uprising. After its decline and the third partition of Poland the town fell to the Austrians, which on Wawel Hill caused numerous devastations and adapted buildings to the wishes and needs of the Army. 1809 Cracow was affiliated to the Grand Duchy of Warsaw. After the defeat of Napoleon, Krakow in the Vienna Convention of 1815 was declared Free City of Kraków. Then the remains of folk hero Tadeusz Kosciuszko and of Prince Jozef Poniatowski were brought back to the city. 1820-1823 on the rise of St. Bronislava a hill in honor of the leader of the popular uprising was built. Instead of the city walls, which were largely destroyed, they laid out supporting beams. 1846 Krakow lost its independence and the Austrians erected again on the Wawel barracks and they surrounded the Wawel with fortification complexes. However, Austria but has proved less tyrannical and so the city enjoyed a certain degree of growing cultural and political freedom. 1918 Krakow became the independence back.
Before the outbreak of the Second World War, in Krakow lived about 260,000 inhabitants, of which 65,000 belonged to the Jewish religion. During the war, also Krakow became witness of German war crimes. The for the greater part Jewish district of Kazimierz was eradicated. The Jews from now on lived in ghettos where they either were deported from there to Auschwitz or immediately shot. In spite of the plundering of the Nazis, Krakow became no scene for military combat operations and thus the only large Polish town escaping this fate. Therefore, its old architecture still almost completely is intact.
After the surrender of Germany and the Polish liberation, hastened the Communist government to inspire the traditional life and the city with a large steel plant in Nowa Huta. But the intensive rebuilding of the economy and industry rather promoted an ecological disaster. Buildings that had survived the war undamaged were now devoured and destroyed by acid rain and toxic gases. Carbon dioxide emissions grew so powerful that this has remained a serious and grave problem of the city. After the fall of the Communists and the fall of the Iron Curtain Krakow has benefited greatly from tourism and has adapted itself to a large extent to the Western culture.
Quorn.
The first European squatters and pastoralists arrived in the Quorn area in the 1850s but the town did not come into existence until 1875. It was named after Quorn in Leicestershire by Governor Jervois whose private secretary came from there. South Australian Railways chose the site for the town of Quorn and in 1878 the government sold the first blocks of land. In 1879 Quorn became the first terminus of the Great Northern Railway line from Port Augusta. The current station with its charming Dutch gables was built in 1916. However Quorn’s greatest period of importance as a railway centre was between 1917 and 1937 when it was the junction for both the western line to Perth and the northern line to Oodnadatta and Alice Springs. This importance continued during World War II when over 400 people in the town were employed by the railways as it was a major troop stop over point with the Country Women’s Association providing over 1 million meals to the servicemen. The establishment of a new standard gauge railway to Marree and the Leigh Creek coal fields west of the Flinders Ranges in 1956 saw the town decline. The various hotels in the main street located to service the needs of travelling rail passengers then became a movie set for several films including: The Sundowners, Sunday Too Far Away, Robbery under Arms, The Shiralee and more recently Gallipoli.
Quorn’s early development was similar to that of many SA towns. One of the first structures (1878) was a flour mill for the wheat farmers built by Mr Cowan. Mr Dunn the wealthy flour miller of Mt Barker built a second three storied flour mill in 1879. It was converted to a motel in the 1960s and is now a backpacker’s accommodation centre. Other early buildings were the Austral Hotel (1878), where many of us will stay, and the Criterion Hotel built in 1881 and the Transcontinental Hotel in 1878. The first National Bank opened in 1878, along with the Post Office, the Court House (1879) and Matthews Emporium (1886). The first church in town was a Methodist Church in 1880, followed by the Anglican (1880 replaced in 1897), Catholic (1883), the Salvation Army Hall in 1884(now a gallery) and the Lutheran Church in 1890. Three years after its founding, Quorn had a population of 540 and was the 19th largest town north of Adelaide! A reservoir was made for the railways and the town. Other important public town buildings were the Institute (1881) and the Town Hall (1907). A school started soon after the founding of the town and in 1909 it became a Higher Primary School and then in 1914 it became a High School. It was the first high school in the north of SA. Quorn continued to grow in importance once the railway was extended from Quorn through to Oodnadatta in 1891.
Colebrook Home in Quorn was established by the Australian Aborigines Mission. It began as a children’s home for Aboriginals in Oodnadatta in 1926 .In 1927 the home moved to Quorn with 12 children in residence. In 1933 the Mission got a new house, 2 miles outside Quorn and in 1935 the 30 resident children were sent to Magill for the summer holidays. This practice continued until 1940 when the children spent the summer holidays at Eden Hills. Following this, the Mission established Colebrook Children’s Home at Eden Hills. Among the children raised at Colebrook were several prominent Aboriginal leaders in SA including Lowitcha O’Donoghue, Faith Thomas and Ruby Ahchee( Hammond).
Shiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism. He is one of the five primary forms of God in the Smarta tradition, and "the Destroyer" or "the Transformer" among the Trimurti, the Hindu Trinity of the primary aspects of the divine.
Shiva has many benevolent and fearsome forms. At the highest level Shiva is limitless, transcendent, unchanging and formless. In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash, as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.
The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument.
Shiva is usually worshiped in the aniconic form of Lingam. Temples of Lord Shiva are called shivalayam.
ETYMOLOGY AND OTHER NAMES
The Sanskrit word Shiva comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word śi means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.
The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).
The Sanskrit word śaiva means "relating to the God Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect. It is used as an adjective to characterize certain beliefs and practices, such as Shaivism. He is the oldest worshipped Lord of India.
The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.
Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name." Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".
Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great God"; mahā "Great" and deva "god"), Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"), and Parameśvara ("Supreme Lord").
There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva. The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition. Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.
HISTORICAL DEVELOPMENT AND LITERARURE
The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.
ASSIMILATION OF TRADITIONS
The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure. How the persona of Shiva converged as a composite deity is not well documented. According to Vijay Nath:
Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."
Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.
An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes. The foremost center of worship of Khandoba in Maharashtra is in Jejuri. Khandoba has been assimilated as a form of Shiva himself, in which case he is worshipped in the form of a lingam. Khandoba's varied associations also include an identification with Surya and Karttikeya.
INDUS VALLEY ORIGINS
Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daroPashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra. Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.
This claim has been criticised, with some academics like Gavin Flood and John Keay characterizing them as unfounded. Writing in 1997 Doris Srinivasan said that "Not too many recent studies continue to call the seal's figure a 'Proto-Siva'", rejecting thereby Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man. According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.
POSITION WITHIN HINDUISM
Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.
PANCHAYATANA PUJA
Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century CE Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.
TRIMURTI
The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer. These three deities have been called "the Hindu triad" or the "Great Trinity", often addressed as "Brahma-Vishnu-Maheshwara."
ICONOGRAPHY AND PROPERTIES
- Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite.
- Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes, called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources. In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes". However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers". These three mother-goddesses who are collectively called the Ambikās. Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā. It has been mentioned that when Shiva loses his temper, his third eye opens which can destroy most things to ashes.
- Trident: (Trishula): Shiva's particular weapon is the trident. His Trisul that is held in His right hand represents the three Gunas - Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.
- Trident: (Trishula): Shiva's particular weapon is the trident. His Trisul that is held in His right hand represents the three Gunas - Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.
- Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence. Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy. These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism. One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.
- Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana). Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle" and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra. Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.
- Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode. In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.
- Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.
- Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".
- Crescent moon: (The epithets "Chandrasekhara/Chandramouli")- Shiva bears on his head the crescent moon. The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown") refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva. The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon. The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.
- Lingam: Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important. These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness". Shiva also means "one in whom the whole creation sleeps after dissolution". Linga also means the same thing - a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself.
FORMS AND ROLES
According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes. The ambivalent nature of this deity is apparent in some of his names and the stories told about him.
DESTROYER AND BENEFACTOR
In the Yajurveda, two contrary sets of attributes for both malignant or terrific (Sanskrit: rudra) and benign or auspicious (Sanskrit: śiva) forms can be found, leading Chakravarti to conclude that "all the basic elements which created the complex Rudra-Śiva sect of later ages are to be found here". In the Mahabharata, Shiva is depicted as "the standard of invincibility, might, and terror", as well as a figure of honor, delight, and brilliance. The duality of Shiva's fearful and auspicious attributes appears in contrasted names.
The name Rudra (Sanskrit: रुद्र) reflects his fearsome aspects. According to traditional etymologies, the Sanskrit name Rudra is derived from the root rud-, which means "to cry, howl". Stella Kramrisch notes a different etymology connected with the adjectival form raudra, which means "wild, of rudra nature", and translates the name Rudra as "the wild one" or "the fierce god". R. K. Sharma follows this alternate etymology and translates the name as "terrible". Hara (Sanskrit: हर) is an important name that occurs three times in the Anushasanaparvan version of the Shiva sahasranama, where it is translated in different ways each time it occurs, following a commentorial tradition of not repeating an interpretation. Sharma translates the three as "one who captivates", "one who consolidates", and "one who destroys". Kramrisch translates it as "the ravisher". Another of Shiva's fearsome forms is as Kāla (Sanskrit: काल), "time", and as Mahākāla (Sanskrit: महाकाल), "great time", which ultimately destroys all things. Bhairava (Sanskrit: भैरव), "terrible" or "frightful", is a fierce form associated with annihilation.
In contrast, the name Śaṇkara (Sanskrit: शङ्कर), "beneficent" or "conferring happiness"reflects his benign form. This name was adopted by the great Vedanta philosopher Śaṇkara (c. 788 - 820 CE), who is also known as Shankaracharya. The name Śambhu (Sanskrit: शम्भु), "causing happiness", also reflects this benign aspect.
ASCETIC AND HOUSEHOLDER
He is depicted as both an ascetic yogi and as a householder, roles which have been traditionally mutually exclusive in Hindu society.[185] When depicted as a yogi, he may be shown sitting and meditating.[186] His epithet Mahāyogi ("the great Yogi: Mahā = "great", Yogi = "one who practices Yoga") refers to his association with yoga.[187] While Vedic religion was conceived mainly in terms of sacrifice, it was during the Epic period that the concepts of tapas, yoga, and asceticism became more important, and the depiction of Shiva as an ascetic sitting in philosophical isolation reflects these later concepts.[188] Shiva is also depicted as a corpse below Goddess Kali, it represents that Shiva is a corpse without Shakti. He remains inert. While Shiva is the static form. Mahakali or Shakti is the dynamic aspect without whom Shiva is powerless.
As a family man and householder, he has a wife, Parvati and two sons, Ganesha and Kartikeya. His epithet Umāpati ("The husband of Umā") refers to this idea, and Sharma notes that two other variants of this name that mean the same thing, Umākānta and Umādhava, also appear in the sahasranama. Umā in epic literature is known by many names, including the benign Pārvatī. She is identified with Devi, the Divine Mother; Shakti (divine energy) as well as goddesses like Tripura Sundari, Durga, Kamakshi and Meenakshi. The consorts of Shiva are the source of his creative energy. They represent the dynamic extension of Shiva onto this universe. His son Ganesha is worshipped throughout India and Nepal as the Remover of Obstacles, Lord of Beginnings and Lord of Obstacles. Kartikeya is worshipped in Southern India (especially in Tamil Nadu, Kerala and Karnataka) by the names Subrahmanya, Subrahmanyan, Shanmughan, Swaminathan and Murugan, and in Northern India by the names Skanda, Kumara, or Karttikeya.
Some regional deities are also identified as Shiva's children. As one story goes, Shiva is enticed by the beauty and charm of Mohini, Vishnu's female avatar, and procreates with her. As a result of this union, Shasta - identified with regional deities Ayyappa and Ayyanar - is born. Shiva is also mentioned in some scriptures or folktales to have had daughters like the serpent-goddess Manasa and Ashokasundari. Even the demon Andhaka is sometimes considered a child of Shiva.
NATARAJA
The depiction of Shiva as Nataraja (Tamil: நடராஜா,Kannada: ನಟರಾಜ, Telugu: నటరాజు, Sanskrit: naṭarāja, "Lord of Dance") is popular. The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama. His association with dance and also with music is prominent in the Puranic period. In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular. The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya. and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati. Lasya is regarded as the female counterpart of Tandava. The Tandava-Lasya dances are associated with the destruction-creation of the world.
DAKSHINAMURTHY
Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति), literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras. This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu. Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.
ARDANARISHVARA
An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman". According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.
TRIPURANTAKA
Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras. Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story. In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.
WIKIPEDIA
What would become the largest airline in the world owes its existence to an insect: the boll weevil. In response to weevil infestations of Southern cotton fields, Collett Woolman proposed using aerial cropdusting. No one had ever tried aerial spraying before, and Woolman’s Huff Daland Dusters became the world’s first cropdusting company. Huff Daland began spraying from Macon, Georgia in May 1924; a year later, it moved to Louisiana.
Eventually, Woolman raised enough money to buy Huff Daland outright, and in anticipation of expanding into airmail and passenger operations, renamed it Delta Air Service in reference to the Mississippi Delta region it would be operating from. Delta rapidly expanded its routes throughout the South, but nearly went out of business when the US government awarded airmail routes through the South to American Airlines; when it was learned that American was involved in a bribery scandal, Delta was able to get the route instead, ensuring its survival. In 1941, Delta moved its headquarters to Atlanta, which had become the central hub of its operations.
Postwar, Delta began to expand once more. It acquired Chicago and Southern Airlines in 1953, which gave Delta its first boost: before 1953, its routes were limited to the US South and its primary aircraft were war-surplus Douglas DC-3s and DC-4s. Using Chicago and Southern’s Lockheed L-049 Constellations, Delta could now fly routes through the Caribbean and into Canada.
In 1959, Delta entered the jet age by purchasing Douglas DC-8s; to represent their new aircraft, Delta changed its livery to introduce the “widget”—a stylized Greek-alphabet delta, referencing the airline name and its new swept-wing jets. The widget remains Delta’s logo to the present day. The airline went transcontinental soon thereafter, and to boost traffic on this route, became one of the launch customers of the Convair 880. Though the airline could boast a flight time between Atlanta and Los Angeles of less than three hours in the sleek 880, the airliner’s reputation as a gas hog would not keep it in Delta’s fleet for long. The last of its DC-7s were sold in 1970, making the airline all-jet.
Delta had a near stranglehold on the Southern market and extensive contacts in the Midwest, but lacked any sort of presence in the West or Northeast, and, aside from its Caribbean connections, none overseas. The airline took steps to rectify that situation: in 1972, it bought out Northeast Airlines, giving it significant routes in the Boston-New York area. To boost its transcontinental routes, Delta bought its first wide-body aircraft, Boeing 747s, in 1970, but these proved to be unprofitable and were sold; instead, Delta took on Lockheed L-1011 Tristars, and would go on to become the world’s largest operator of the L-1011 and one of the longest. Finally, in 1978, Delta was able to acquire a European route from Atlanta to London using Tristars.
Delta weathered the deregulation period of the early 1980s carefully, concentrating on its domestic routes and continuing its expansion slowly, rather than overreaching—a trend that was to lead to the demise of many of its competitors. In 1987, Western, facing bankruptcy and unable to conclude a deal with Continental, was taken over by Delta, giving the latter its long-awaited network in the American West and Pacific Northwest. It also left Delta as the largest airline in the US and allowed Delta to expand into Latin America.
Delta also began its Delta Connection service in 1987, partnering with Comair, Skywest, and Atlantic Southeast, which remained independent companies but repainted its aircraft in Delta liveries. In 1991, Delta bought a controlling interest in Pan American, with the promises to keep the latter in business. However, it was more profitable for Delta to let the legendary airline die off and take over its transatlantic routes, and by 1992, Delta was now the largest American transatlantic carrier. With the acquisition of Pan Am’s fleet, it also allowed Delta to make inroads into the Asian market.
The post-9/11 recession and the week-long grounding of US airlines hit Delta particularly hard, losing so much money that not even a government bailout could do more than delay further losses. The airline dropped most of its Asian routes, consolidated its fleet by retiring the aging L-1011 fleet and selling MD-11s inherited from Western, moved some business from its regional hubs to Atlanta, and cut salaries. Delta still ended up filing bankruptcy in 2005. Nonetheless, the austerity measures worked. Delta was also able to save money by refurbishing its MD-80 fleet rather than replacing them—the MD-80s were cheaper to operate than many newer airliners—and sold off some of its Delta Connection airlines or absorbed them entirely. After fending off an attempt at a buyout by US Airways, Delta emerged from bankruptcy in 2007; in celebration, the airline introduced another livery (its third in seven years) that reintroduced the widget.
It would expand still further. In 2008, it was announced that Delta and Northwest Airlines would merge, with the latter being absorbed by Delta. With a combined fleet of nearly 800 aircraft, this made Delta the largest airline in the world by fleet size, and in the top five by passengers flown annually. Today, Delta retains this title, with a worldwide network to every continent, with 300 destinations.
N480DA is shown in Delta Shuttle markings, reflecting the airline's livery from 2001-2007. This was not a popular scheme, as it deleted the widget from the tail for a more plain blue and red scheme. Delta Shuttle used to be a solely New York-Boston four-times daily service, but it more recently has been expanded to Chicago, along with a San Francisco-Los Angeles flight. N480DA spent its entire service life with Delta, bought new in 1974 and retired in 1999 to be scrapped.
What would become the largest airline in the world owes its existence to the boll weevil. In response to weevil infestations of Southern cotton fields, Collett Woolman proposed using aerial cropdusting. No one had ever tried aerial spraying before, and Woolman’s Huff Daland Dusters became the world’s first cropdusting company. Huff Daland began spraying from Macon, Georgia in May 1924; a year later, it moved to Louisiana.
Eventually, Woolman raised enough money to buy Huff Daland outright, and in anticipation of expanding into airmail and passenger operations, renamed it Delta Air Service in reference to the Mississippi Delta region it would be operating from. Delta rapidly expanded its routes throughout the South, but nearly went out of business when the US government awarded airmail routes through the South to American Airlines; when it was learned that American was involved in a bribery scandal, Delta was able to get the route instead, ensuring its survival. In 1941, Delta moved its headquarters to Atlanta, which had become the central hub of its operations.
Postwar, Delta began to expand once more. It acquired Chicago and Southern Airlines in 1953, which gave Delta its first boost: before 1953, its routes were limited to the US South and its primary aircraft were war-surplus Douglas DC-3s and DC-4s. Using Chicago and Southern’s Lockheed L-049 Constellations, Delta could now fly routes through the Caribbean and into Canada.
In 1959, Delta entered the jet age by purchasing Douglas DC-8s; to represent their new aircraft, Delta changed its livery to introduce the “widget”—a stylized Greek-alphabet delta, referencing the airline name and its new swept-wing jets. The widget remains Delta’s logo to the present day. The airline went transcontinental soon thereafter, and to boost traffic on this route, became one of the launch customers of the Convair 880. Though the airline could boast a flight time between Atlanta and Los Angeles of less than three hours in the sleek 880, the airliner’s reputation as a gas hog would not keep it in Delta’s fleet for long. The last of its DC-7s were sold in 1970, making the airline all-jet.
Delta had a near stranglehold on the Southern market and extensive contacts in the Midwest, but lacked any sort of presence in the West or Northeast, and, aside from its Caribbean connections, none overseas. The airline took steps to rectify that situation: in 1972, it bought out Northeast Airlines, giving it significant routes in the Boston-New York area. To boost its transcontinental routes, Delta bought its first wide-body aircraft, Boeing 747s, in 1970, but these proved to be unprofitable and were sold; instead, Delta took on Lockheed L-1011 Tristars, and would go on to become the world’s largest operator of the L-1011 and one of the longest. Finally, in 1978, Delta was able to acquire a European route from Atlanta to London using Tristars.
Delta weathered the deregulation period of the early 1980s carefully, concentrating on its domestic routes and continuing its expansion slowly, rather than overreaching—a trend that was to lead to the demise of many of its competitors. In 1987, Western, facing bankruptcy and unable to conclude a deal with Continental, was taken over by Delta, giving the latter its long-awaited network in the American West and Pacific Northwest. It also left Delta as the largest airline in the US and allowed Delta to expand into Latin America.
Delta also began its Delta Connection service in 1987, partnering with Comair, Skywest, and Atlantic Southeast, which remained independent companies but repainted its aircraft in Delta liveries. In 1991, Delta bought a controlling interest in Pan American, with the promises to keep the latter in business. However, it was more profitable for Delta to let the legendary airline die off and take over its transatlantic routes, and by 1992, Delta was now the largest American transatlantic carrier. With the acquisition of Pan Am’s fleet, it also allowed Delta to make inroads into the Asian market.
The post-9/11 recession and the week-long grounding of US airlines hit Delta particularly hard, losing so much money that not even a government bailout could do more than delay further losses. The airline dropped most of its Asian routes, consolidated its fleet by retiring the aging L-1011 fleet and selling MD-11s inherited from Western, moved some business from its regional hubs to Atlanta, and cut salaries. Delta still ended up filing bankruptcy in 2005. Nonetheless, the austerity measures worked. Delta was also able to save money by refurbishing its MD-80 fleet rather than replacing them—the MD-80s were cheaper to operate than many newer airliners—and sold off some of its Delta Connection airlines or absorbed them entirely. After fending off an attempt at a buyout by US Airways, Delta emerged from bankruptcy in 2007; in celebration, the airline introduced another livery (its third in seven years) that reintroduced the widget.
It would expand still further. In 2008, it was announced that Delta and Northwest Airlines would merge, with the latter being absorbed by Delta. With a combined fleet of nearly 800 aircraft, this made Delta the largest airline in the world by fleet size, and in the top five by passengers flown annually. Today, Delta retains this title, with a worldwide network to every continent, with 300 destinations.
N484DA is finished in Delta's late 1999s-early 2000s scheme, the one time in Delta's modern history that the widget disappeared from the tail. This was not very popular, which led to the widget's reintroduction in the current scheme in 2007. N484DA wore this scheme for only a short time before Delta retired its 727 fleet in 1999; it had spent its entire career with the airline, which it joined in 1974. It was scrapped sometime between 1999 and 2003.
Former St. Peter's German Evangelical Church, Winant Place, Kreischerville (Charleston), Staten Island
The St. Peter's German Evangelical Church at Kreischerville (now Free Magyar Reformed Church) is representative of the many small churches built for immigrant congregations on Staten Island during the second half of the nineteenth century. The church complex - church, parish house, and rectory - recalls the era when Charleston was known as Kreischerville, as well as the early-twentieth-century period when Hungarian immigrants maintained the separate identity of the small village. Erected in 1883 as the gift of local industrialist Balthasar Kreischer, the church reflects the paternalistic role that industrialists often played in the development of quasi-company towns such as Kreischerville. Though characteristic of the small, wood-framed structures built in the villages of Staten Island and elsewhere, the Carpenter Gothic church, probably designed and built by local craftsmen, is distinguished by its unusual porch that is domestic in scale and form, and by the emphasis on verticality provided by the tall spire and rows of small gabled dormers in the steeply-pitched gable roof.
Through its pastor, the Reverend Jacob Ganss, who led the German congregation throughout its existence, the Kreischerville Church was linked with nearby German Protestant congregations. As the Hungarian population in the village of Kreischerville grew, a Magyar Reformed church was established in 1915 and met in St. Peter's church, which the Hungarian congregation soon acquired The attached parish hall, an early addition to the church, and the rectory, designed by builder/architect Royal Daggett and built in 1926 by the Hungarian congregation, complete the complex, which is enclosed by a distinctive fence with posts of Kreischer brick. The history of the Hungarian congregation, which in 1933 affiliated with the small Hungarian Reformed Church in America denomination (established in 1920), documents the important role that churches played in the lives of immigrant groups.
The Development of Kreischerville
During the early and mid-nineteenth century, the town of Westfield on the southwestern side of Staten Island was a rural area with scattered small settlements; because of the extensive land holdings of the Androvette family, the hamlet near the juncture of Arthur Kill Road and Sharrotts Road was known as Androvetteville. Sharrotts Road connected the community with the village of Woodrow to the east, while the Arthur Kill Road led north to Rossville and the Blazing Star Ferry and also south to Tottenville and additional ferry service to New Jersey. Several small lanes led to the waterfront, much of which was salt marshy and homes not located near the main roads were near the shore. The residents of Androvetteville included farmers, oystermen, ship joiners, and watermen. By 1850, there were two stores in the hamlet and the West Baptist Church stood north of the intersection of Sharrott's Road and Arthur Kill Road.
The area around Androvetteville changed dramatically in the mid-1850s with the discovery of refractory fire clays in the vicinity, and the purchase of clay deposits and subsequent development of a fire bricks manufacturing works by Balthasar Kreischer." In 1845 Kreischer and a partner had established a business in Manhattan to produce fire brick - a fire-resistant brick used in many industrial applications. Kreischer soon was sole proprietor of the operation that was one of the first in the United States to provide fire brick. In 1853 Kreischer became aware of refractory clay deposits in Westfield.
He acquired several tracts with clay deposits and purchased the rights to mine clay on nearby land. Two years later Kreischer established a brick works at the edge of (he Arthur Kill (Staten Island Sound), and in 1858 he enlarged his works on Staten Island with the construction of an addition to the factory for the production of clay retorts (vessels made of fire clay in which coal was heated to produce gas). As Kreischer's brick works and clay mining began to dominate Androvetteville, the area became known as Kreischerville. In 1876 the Staten Island facility was enlarged and at that time the Manhattan plant was closed; the newly-expanded works were destroyed by fire in 1878 and were immediately rebuilt. The Kreischer Brick works was a major producer of building materials in the metropolitan area, and like many operations, maintained a headquarters in Manhattan.
Balthasar Kreischer, who retired from active management of the brick works in 1878, died in 1886; the Arm of B. Kreischer & Sons was continued by three of his children: George F., who had joined the company in 1870, Charles C., and Edward B.^ In 1887 George Kreischer entered into an agreement with the New York Anderson Pressed Brick Company and the Anderson works was built adjacent to the Kreischer facility. The brick works were again badly damaged by Arc and rebuilt in 1892. The Kreischer family's involvement with the firm terminated in 1899, its sale forced by financial problems.
The main impetus for the growth of the village of Kreischerville was the provision of housing within walking distance of the brick works. It appears that some of the properties Kreischer acquired for his company's clay deposits already had dwellings on them and that he erected several additional dwellings to house the work force; by the early 1890s the Kreischer family owned around twenty-five houses in Kreischerville. On the parcel immediately north of the works stood one of the existing houses, an old Androvette family dwelling (now No. 122 Androvette Street). By 1875 Kreischer had built two large tenements for workers: a frame building east of the older Androvette house that housed six families and a nearby larger brick structure for twelve households (neither of the tenement buildings is standing). By the mid-1880s, a number of double houses had been built on the Kreischer firm property as housing for workers. The Kreischer firm did not own all of the property in the village, however, and members of families that had long been located in the area, like Peter Androvette, owned their own homes in addition to houses they rented to workers and lots they sold for new construction. Double houses, or semi-detached cottages, would become the dominant housing type in the village, with nearly twenty such structures built, including the Kreischer Street Workers' Houses erected by Androvette c.1890 at Nos. 71-73, 75-77, 81-83, and 85-87 Kreischer Street.
The relative geographic isolation of Kreischerville prompted the development of an entire village with numerous services as well as its own company town culture. Because Kreischerville, like many industrial communities was dominated by, but not entirely controlled by, the local industrialist - in this case Balthasar Kreischer - it can be considered a quasi-company town; the control of Kreischer over the village was tempered by preexisting development and local interests in the community. In 1863 a KreischerviHe post office was established. The Kreischerville school, District School No. 7, which during the mid-1880s served over two-hundred students, was located just north of the center of the village on Arthur Kill Road. Private enterprise appears to have thrived in Kreischerville.
During the early 1870s Kreischer helped to establish Nicholas Kilmeyer as proprietor of a genera! store in the building that stands at 4321 Arthur Kill Road (at the comer of Winant Place). Soon there were several provision stores in the village and two bakers. The Kilmeyer Union Hote! and Saloon (at the comer of Arthur Kill Road and Sharrotts Road), the Neilsen Hotel (at the comer of Androvette and Kreischer Streets), and a boarding house offered lodging. The Order of Germain a Lodge No. 26 met in Kilmeyer's Hall; that group, or the Society for the Support of the Poor of St. Peter's Church, was probably the benevolent society established by 1886 to provide aid to sick or injured workers.
During the last decades of the nineteenth century, houses lined Androvette Street. Winant Place, Kreischer Street, Manley Street, Arthur Kill Road, and Sharrotts Road. During the 1890s, the village residents were mainly German and Irish immigrants, most of whom were laborers at the brick works, the clay pits, the International Ultramarine Works (between Kreischerville and Rossville), and the S.S. White Dental Manufacturing Company at Prince's Bay. The village residents included blacksmiths, masons, carpenters, bricklayers, and a tinsmith and p!umber, oystermen, and several watermen and boat captains.
According to reminiscences of residents, Kreischer considered the town named after himself to be a family community, and in a paternalistic manner he advanced money to purchase homes and assisted employees through sickness and trouble. Having become an American citizen, he encouraged his employees - mostly German immigrants like himself - to attain citizenship. His force in the community is reflected in memories that there was a "good tight fence around the entire village," and that 'the gates were dosed early in the evening, which perhaps have exaggerated the role of the extensive picket fencing enclosing the yards of village houses that is documented in historic photographs.
As was common in industrial towns, the Kreischer family maintained conspicuous residences. Kreischer built a grand villa-type residence (probably in the 1860s, no longer standing) on the crest of the hills above the factory (on the east side of the Arthur Kill Road) that visually dominated the village. Around 1886 Charles and Edward Kreischer moved into a pair of similar Stick Style wood villas on the east side of Arthur Kill Road; the house built for Charles Kreischer still stands at 4500 Arthur Kill Road (attributed to Palliser & Palliser, it is a designated New York City Landmark).
Around the turn of the century, the population of Kreischerville began to change as did the employment situation. The federal census of 1900 routinely listed "day laborer" as the occupation of many residents, although there were still several small service businessmen in town. As the more limited operation of the brick works after 1899 diminished the immediately local employment possibilities, more workers traveled to the White dental works and the Atlantic Terra Cotta Works (established 1897) in Tottenville.^ A significant addition to the predominantly German population was the influx of many workers from Hungary and neighboring areas in Central Europe. In 1900 most of the recent Hungarian immigrants in Kreischerville were single men who boarded in the homes of Anton Killian and John Lasiacasca on Arthur Kill Road, George Lasco on Androvette Street, and others. Hungarian families soon occupied other types of housing in the village, including the many double houses; the Magyar populadon and its social institutions would remain a visible portion of the population of Kreischerville during the twentieth century.
The St Peter's German Evanselical Reformed Church of Kreischerville
Following an attempt to establish a German congregation in Kreischerville in 1879, the St. Peter's German Evangelical Reformed Church of Kreischerville^ was incorporated March 13, 1882, with Jasper D. Heitman and Christopher Bie! as trustees and William Beekman and Philip Eckert as deacons. The group was formally organized under the direction of the Reverend Leopold Mohn, who was the pastor of the German Evangelical Church in Hoboken as well as director of the "Martha Institute," a private German-American school associated with that church. The name chosen by the congregation, St. Peter's Evangelical Reformed Church, reflects the diverse Protestant denominations represented by die German
immigrants The use of the neutral name, "Evangelical," which in German usage was equivalent to "Protestant," suggests that the German-speaking congregation probably included Swiss and Alsatian members who had been Calvinists or Reformed, as well as Lutherans. The St. Peter's congregation soon supported a Women's Society, a Society for the Support of the Poor, and a Young People's Society.
In May 1883, the firm of B. Kreischer & Sons acquired from Lewis Androvette a four-acre lot on the north side of Winant Place which bordered the lot on which the Kilmeyer store stood. On July 1st of that same year, a church building was formally presented to the congregation by Mr. Kreischer. "St. Peterskirche," as it became known to Kreischerville residents, was reported to have cost $15,000 and was furnished with an unusually good organ, and carved pews and wainscoting. The Kreischer family conspicuously occupied a pew at the front of the church that faced the choir. When the prominent industrialist died in 1886, Kreischer's funeral was held in St. Peterskirche prior to burial in Greenwood Cemetery, Brooklyn. Balthasar Kreischer's will stipulated that his heirs hold the church property in trust for the congregation as long as the family business was carried on by his sons; since the Kreischer firm was sold to Peter Androvette in 1899, in compliance with that provision, the Kreischer heirs conveyed the church property to the congregation the following year.
The construction of a church building by Balthasar Kreischer in the village bearing his name was characteristic of the common practice of paternalistic-oriented industrialists to provide churches, libraries, and community hall buildings in company towns. However, the establishment of a German congregation and the role of benefactor played by Kreischer seem to have occurred at a rather late date in the development of the industrial community of Kreischerville - thirty years after the brick works were opened. The delay may have been related to the dominance of the German-American immigrant community by secular community groups rather than religious ones, and the lack of a truly dominant German Protestant denomination.
Or perhaps the Baptist and Methodist congregations in the village had, but no longer, served the community's religious needs Nevertheless, Kreischer's ability to reinforce the German heritage he shared with much of his workforce, by worshipping with them in their native tongue in a church building he provided, was a final step in the development of KreischerviHe as a quasi-company town. Kreischer's will also provided for the use of the church as a school, a provision that remains unexplained. A public school had been established in KreischerviHe by the mid-1870s; Kreischer may have been referring to instruction in the German language. St. Peter's German Evangelical Church at KreischerviHe was one of several churches established on Staten Island by the sizeable German population that began to settle there after 1850; the congregations included the German Evangelical Lutheran Church in Port Richmond (incorporated 1852 and name changed 1918); the German Evangelical Church at Stapleton (incorporated 1857); the German-English Evangelical Lutheran Church of St. Paul, West New Brighton (incorporated 1895); and the German Evangelical Lutheran St. John's Church in Linoleumville (now Travis, incorporated 1910).
The German congregation of St. Peter's Church was served throughout its history by one pastor - the Reverend Jacob Ganss. During December 1882, Ganss first preached in Kreischerville, and in 1883, the year he was ordained at New Dorp by the (Dutch) Reformed Church of America (under whose authority many Protestant German churches were organized), he was called as pastor of the church. During his early years on Staten Island, the Reverend Ganss also served nearby congregations; aRer presiding at a late morning service on Sundays in KreischerviHe, he preached in Bergen (now Jersey City), New Jersey during the late afternoon and at an evening service in Hoboken.
The Reverend Jacob James Ganss (1859-1930), a native of Germany, graduated from the University of Mainz, Germany, and did post-graduate work at the University of Basel, Switzerland, before immigrating in 1880, at the age of twenty-one, to the United States where he first settled in Brooklyn. Ganss soon became a tutor at the Dr. Mohn's Martha Institute in Hoboken, where he was also a student in languages. (He received a Doctor of Philosophy degree from Taylor University, Indiana, in 1898.) The Reverend Ganss also served a German congregation in Perth Amboy which was enroHed in 1908 as a congregation in the Reformed Church of America; by 1914 the Reverend Dr. Ganss was preaching at the growing St. Paul's Evangelical Reformed Church in Perth Amboy during the morning and to the smaller congregation on Staten Island in the afternoon. The Reverend continued to serve the Perth Amboy Church from his home (now 4313 Arthur Kill Road, purchased in 1902 Rom the St. Peter's congregation) on Staten Island until his death in 1930.
A Second Congregation — The Free Magyar Reformed Church
By 1915 a Hungarian congregation had been meeting regularly in the St. Peter's German church. With Reverend Louis Nanassy presiding, the congregation incorporated in June of that year as the Magyar Reformed Church of KreischerviHe New York and Vicinity and afHHated with the German Reformed Church.Through the assistance of the Reverend Jacob Ganss, the Hungarian congregation was able to purchase the church and dedicate it for their use on September 1, 1919. Around the same time, the congregation called as pastor the Reverend Joseph Nagy, who had immigrated in 1911 from Hungary; with his wife, Helen, and their two children, he resided at 19 Winant Place in what is now the kitchen and bathroom portion of the Parish Hall.
In 1922 the Reverend Kalman Toth was installed as pastor, and as the church flourished, plans were made to erect a rectory; the project was realized during the summer of 1926 when a dwelling was built by George Robinson to plans provided by builder/architect Royal Daggett." A division in the church occurred in 1933 when the Reverend Toth left to establish another church in Rossville. The congregation in Charleston then reincorporated as the Free Magyar Reformed Church of Staten Island, New York; since that time the church has been affiliated with the Hungarian Reformed Church in America.
The congregation in Charleston maintained an active religious and social program, furthering the goals of the Hungarian community. Services were conducted in the Hungarian language until October 1985, at which time the Hungarian and English services were combined. The church provided Hungarian language classes for children of the congregation Rom the early 1930s through the early 1950s. The church and the parish hall, with its stage, remain in regular use for worship and as the setting for church-related and social events; when there is no resident pastor, the rental of the rectory helps support the small, independent congregation.
The history of the Magyar church in Charleston illustrates the important role that churches played in the lives of immigrant groups. During the Rrst years of the twentieth century, a period of heavy immigration from Hungary, many Hungarian, or Magyar, churches were organized.' The Magyar churches represented several denominations: Roman Catholic, Baptist, Lutheran, Greek Catholic (Byzantine Rite), and those affiliated with the Reformed Church in America.
These Hungarian churches in America were noted as particularly careful to maintain the religious traditions of their native land, as well as the Hungarian language which was often taught in church-related schools. In some places, the Hungarian church was the only Magyar "territory" - as property owned (or at least controlled) by the immigrant group - and conceptually it was the one place where the immigrants could truly fee! at home. Many congregations celebrated Hungarian national holidays and consciously tried to serve as a bridge between the old traditions and the new way of life in America. The churches sponsored service clubs, which with the Magyar fraternal organizations, were important social links for the immigrant community.
In the aftermath of World War 1, the Hungarian churches in America, many of which were formally affiliated with and assisted in building programs by the Reformed Church of Hungary, were advised in 1920 to afEIiate with either the Reformed Church of the United States or the Presbyterian Church. In 1924, seven congregations which did not wish to so align themselves formed the Free Magyar (now Hungarian) Reformed Church in America as an independent denomination. The Free Magyar congregations were located in New York, New Jersey, Pennsylvania, Ohio, and Michigan. The denomination, with which the Charleston church affiliated in 1933, has remained one of the smaller ones in the United States, with thirty member churches today.
Description
The St. Peter's German Evangelical Church, Parish Hall, and Rectory are located on a slight rise on the north side of Winant Place in the village of Charleston. The church building and attached parish hall, at 19-23 Winant Place, and the rectory at 25 Winant Place form a complex united by a fence consisting of posts built of brick of various shades, some with Kreischer markings, that are spanned by lengths of chain-link fencing and gates along the front edge of the yards.
The church building is a one-and-one-half-Story structure with a gable end facing the street from which a spire rises above the ridge-line. To the east of the church extends an entry hall that joins the sanctuary with a small dwelling which is used as a kitchen and coat hall. To the rear of the sanctuary and the dwelling extends the parish hall. The sanctuary portion of the church and the south facades of the wing to the east are sheathed with white aluminum siding (installed 1976); the wood elements of the porch, the tongue-and-groove porch flooring and steps, and the foundation (faced with concrete), are painted.
The wood porch that extends across the facade of the church has a shed roof with a central bay which projects as an intersecting gable roof The porch is constructed with square posts and beams that are modeled extensively with chamfering. The posts that terminate with capital blocks are flanked by paired brackets at the roof eaves; the posts are connected at balustrade height by a single chamfered horizontal wood member. From the king-post-like bracing at the apex of the porch roof hangs a sign with the name of the church and date of 1916.
The exposed rafters (chamfered as well) of the porch roof have carved ends Wood steps, flanked by modem metal handrails, lead to the central entrance which has paneled double-leaf doors topped by an arched fanlight which is divided by muntins and has leaded glass with a diamond pattern. A rose window, the leaded glass of which incorporates two rondels, is centered in the gable face within an arched enframement. At the front edge of the gable ridge rises a spire which consists of a square tower supported by a flared base; the belfry area is now covered by horizontal louvers. The tall, pyramidal wood spire is sheathed on the top portion with copper and on the lower portion with asphalt material; the spire is terminated by a ball finial and lightning rod which terminates with a star.
The main body of the church is pierced by arched windows set high in the side facades, just below the projecting boxed eaves; these windows have sash divided into thirds on the exterior and are fitted on the interior with historic leaded colored glass windows. The upper portion of the roof, which is sheathed with dark-colored asphalt shingles, is pierced by several small gabled dormers, the faces of which are covered with aluminum siding. A tall chimney constructed of several shades of Kreischer brick (built during the 1930s) rises Rom the rear portion of the main block.
The three-bay enRance hall to the east of the sanctuary has a brick stoop (rebuilt during the late spring of 1994) leading to the entrance in the west bay. There is a bulkhead cellar entrance adjacent in the east bay of this portion of the complex. The dwelling portion of the structure has an irregular pyramidal roof Rom which a chimney extends. A small shed-roofed wood porch (on concrete piers) with an X-braced balustrade extends at one side of the Ront facade of the structure.
Windows in the south and east facades of the entrance hall and kitchen portion of the complex have one-over-one aluminum sash. The exterior walls of the parish hall are sheathed with asphalt sheets. The exposed rafter ends at the eaves of the parish hall are carved on the east and west walls. The parish hall interior is lit by three sets of grouped tall windows -- in the east wall and at the east and west ends of the north facade — which have four-over-four double-hung wood sash (with exterior storm windows). There is an exterior door near the middle of the north wall of the hall and a door takes the place of one of the windows in the east wall.'
Concrete walks extend along the fence and lead to the main entrance of the church and the door in the entry hall. A flag pole stands to the east of the walk and the posts that supported an announcement board remain west of the walk.^ The portion of the yard in Ront of the entry is paved with granite blocks adjacent to the building. The remaining portion of the brick walk leading to the porch entrance in the east wing is edged with granite and brick curbing. Brick paving (of sidewalk width) edges much of the church complex; a brick-lined gutter along the west side of the church leads to the street A driveway separates the church Rom the rectory.
The rectory, a two-and-one-half-story house with a gable-roofed main block, is sited close to the church, leaving a large yard to the west. The rectory, sheathed in aluminum siding (installed 1977), is on a foundation that is a combination of smooth and rock-faced concrete block; lattice screens enclose the porch foundation between the concrete block piers. The porch has a closed balustrade and square posts supporting the hipped roof that nearly spans the facade. Steps constructed of various shades of Kreischer brick lead to the porch. The central entrance has a storm door and modem wood door. The three-bay facade has window openings with one-over-one aluminum sash; there is a smaller window with similar sash centered in the attic gable face. Wood steps lead to a rear entrance. To the rear of the house there is a fenced play yard and a garage and shed building which is clad in asphalt sheathing.
- From the 1994 NYCLPC Landmark Designation Report
You lived, But have you ever thought of the evidence for your life? You left nothing ,but better than the pains you give to the others...
By Moxkyr
A glimpse of the fabulous Kackar Mountain region of Northeast Turkey...
Photographed during a steep pass from one valley system to the other one, Çeymakçur valley...
Encountered a microclimate harboring a tremendous variety of Kackars flora...
A Türker Şengül Artwork (c)2005
Buryed down, a century to a half since.
Pulled up from the cemetery and placed on gravel with a dozenth of others.
At the end of its usefulness and forgotten.
Captured at the end of the Graveyard of Akureyri, my hometown.
Second round of commissioned tiny, word-drawings: chrispiascik.com/new-work/word-cards-round-2/
Bury St Edmunds Cathedral for most of its existence was simply the parish church of St James until the foundation of the new diocese of St Edmundsbury in 1914 when it was raised to cathedral status, one of the many new dioceses formed in the early 20th century that elevated existing parish churches to diocesan rank rather than purpose building a new cathedral. Many of these 'parish church cathedrals' sit slightly awkwardly with their new status, lacking in the scale and grandeur that befits such a title, but of all of them Bury St Edmunds has been adapted to its new role the most successfully, with in my opinion the most beautiful results.
The medieval church consisted of the present nave, built in 1503-51 under master mason John Wastell, with an earlier chancel that was entirely rebuilt in 1711 and again in 1870. Originally it would have seemed a fairly minor building at the entrance to the monastic precinct, overshadowed by the enormous abbey church that once stood immediately behind it. The absence of this magnificent church since the Dissolution and the scant remains of this vast edifice always sully my visits here with a sense of grievous loss, had history been kinder it would have served as the cathedral here instead and likely be celebrated as one of the grandest in the country.
The church never had a tower of its own since the adjacent Norman tower of the Abbey gateway served the role of a detached campanile perfectly. It is an impressive piece of Romanesque architecture and one of the best preserved 12th century towers in the country.
Upon being raised to cathedral status in 1914 the building underwent no immediate structural changes but plans were made to consider how best to transform a fairly ordinary church into a worthy cathedral. This task was appointed to architect Stephen Dykes Bower and work began in 1959 to extend the building dramatically. Between 1963-1970 the entire Victorian chancel was demolished and replaced with a much grander vision of a lofty new choir and shallow transepts, remarkably all executed in traditional Gothic style in order to harmonize with the medieval nave. It is incredible to think that this was done in the 1960s, a period in which church and cathedral buildings were otherwise constructed in the most self consciously modern forms ever seen, with delicate neo-medieval masonry in place of brick and concrete.
The new crossing of transepts and choir however remained crowned by the stump of a tower for the remainder of the century as funds were not available to finish Dykes Bower's complete vision of a lantern tower over the crossing: this was only realised at the beginning of the 21st century, aided by a legacy left in the architect's will and some subtle design changes under his successor as architect Hugh Matthews. The transformation from church to cathedral was finally completed in 2005 with most satisfactory results. A stunning fan-vault was installed within the new tower in 2010, an exquisite finishing touch.
Whilst it isn't a large building by cathedral standards its newer parts do much to give it the shape and dignity of one. This is especially apparent within, where the cruciform eastern limb draws the eye. The interior is enlivened by much colour, with the ceilings of Dykes Bower's choir and transepts adorned with rich displays of stencilling, whilst the nave ceiling (a Victorian replacement for the medieval one) was redecorated in similarly lively colours in the 1980s which helps to unify the old and new parts of the church.
Few fittings or features remain from the medieval period, most of the furnishings being Victorian or more recent, but one window in the south aisle retains a rich display of early 16th century stained glass, very much Renaissance in style. The remaining glass is nearly all Victorian, some of the windows in the new choir having been transferred from the previous chancel.
St Edmundsbury Cathedral is not filled with the monuments and fittings that make other great churches so rewarding to linger in but it is a real architectural delight and cannot fail to uplift the spirit.
2019-01-29: H.E. Mr. Aziz Rabbah, Minister of Energy, Mines and Sustainable Development, Kingdom of Morocco addressing the audience during the conference of CIF's 10 year of existence in Ouarzazate, Morocco.
The Artane Band have been in existence since 1872, and to date; have played for every President and Taoiseach of Ireland, three Presidents of the United States, three Kings and Queens of the United Kingdom,as well as many other heads of state, in their long history. They have a unique and long standing relationship with the GAA and are a well known feature of all Ireland Sundays. The Artane Band are perhaps best known for their appearances in Croke park; but are now equally well known as concert and ensemble players of the highest regard.
If I would have the ability to look down on those I leave behind and see what they do and say in the wake of my abrupt leaving, death would have more appeal. I often wonder what they would say if they got a second chance to tell me. Sometimes I feel like spiting them. Sometimes I feel like that dog on the wall. Much of the time.
I find myslef sitting in the same place i was a year ago and remembering Sakura (to the new members that did not know her she was also a flickr member) who passed away almost the same time last year.
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"Existence" is strange.. we are here then we are not. Makes me think about things that matter family & friends... People in general and how we treat one another. If I die today what impression have i left on this world? on people? We never know when we will travel to the "other side".. (if you believe in it).
There is a quote that goes something like.. "never leave anything you could say today for tomorow." i cant remember for the life of me where i got it from but i know its from somewhere. And never leave something you could do today for tomorow...
im just thinking and remembering.. *sigh*
Neuchâtel, Rue de l'écluse, 1976. Line 3 (motor car 72 from the early 1920s) climbs the steep gradient in its last weeks of existence. Trailers were put aside between morning and lunchtime peak hours
Thought of experimenting with something and this was the closest best option available. An unedited shot. Little cropping and tone enhancements!
This photograph was taken at 11:10am on Wednesday 4th May 2016 off Sooke River Road in the grounds of Sooke Potholes Provincial Park, a free to visit seven hectare provincial park on Vancouver Island, British Columbia, Canada.
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Nikon D800 160mm 1/125s f/2.8 iso100 RAW (14Bit) Hand held with Nikkor VR vibration reduction on. Nikon back focus button enabled. AF-C Continuous point focus with 3-D tracking. Manual exposure. Matrix metering. Auto white balance.Nikon AF Fine Tune on (+5)
Nikkor AF-S 70-200mm f/2.8G ED IF VRII. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL15 batteries. Nikon DK-17M 1.2x Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Digi-Chip 64GB Class 10 UHS-1 SDXC card. Lowepro Transporter camera strap. Lowepro Vertex 200 AW Photo/ 15.4" Notebook Backpack camera bag.
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RAW (TIFF) FILE SIZE: 103.00MB
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Nikon D800 Firmware versions A 1.10 B 1.10 L 2.009 (Lens distortion control version 2)
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU processor. AMD Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX2 Version 2.10.3 64bit. Adobe photoshop Elements 8 Version 8.0 64bit.
Steam engine exhibits, vintage vehicles, heavy shire horses and rural crafts. Working rural displays on a 500-acre site including old time steam funfair. Widely recognised as the leading event of its type in the world with 2,000 exhibits, 800 trade stalls and over 220 full size steam engines. At over 600 acres, the show ground is one of Europe's largest outdoor event locations. Established in 1969, for the first 15 years of its existence the steam fair then known as ~ Stourpaine Steam Fair' ~ was held at Stourpaine Bushes, then in 1985 it temporarily moved to nearby Everley Hill, following a land dispute. In 1988, after 3 years at Everley Hill, where access by large crowds was difficult, it moved to its current permanent home at Tarrant Hinton, north of Blandford Forum, where access is vastly improved.
A speciality of the show is the display of traction engines and steam rollers performing the work for which they were designed. Such displays include heavy haulage, threshing, sawing logs, ploughing and road-making. The main arena of the show is purposely sited on the slope of a hill to allow both steam- and internal combustion-powered machinery to demonstrate their capacity for heavy load hauling. One of the main displays is the ~ Showman's Line up, in the vintage fairground section, which is thought to be the largest collection of showman's engines in the world.
Since 2003, the show has contracted its own radio station, Steam Fair FM, broadcasting 24 hours daily from the Saturday prior to the show, to the Monday following – 10 days in all. The station, which is also streamed on the internet, covers show news and views, weather and other relevant information with plenty of listener dedications and a format of Vintage Hits. During the event, the station is advertised on roads in the surrounding area and provides traffic news for drivers using the A354 Blandford to Salisbury road that passes the show site.
With 1,000 trade stands, 2,000 exhibitors and their families, together with our campers on the public campsites (5,000 caravans and tents) it is estimated that the population living on site amounts to 25,000 people at any one time.
Total number of people expected to see the show is in excess of 200,000.
An army of workers distribute and collect the 2,500 litter bins on site and 180/200 tonnes of rubbish is taken away each year.
Each year there are more than 300 paid staff and volunteers working during the five-day show period.
Each year we have 360,000 promotional brochures printed, 65,000 car window stickers and 50,000 posters. These are printed 10 months before the show and then distributed over the next few months all around the UK and to overseas destinations.
Due to planning regulations, actual site preparations do not begin until only 2 weeks before the event commences and we have just 10 days to clear the site afterwards and put it back to a working farm.
Over 2 miles of water piping is laid and over 3,100,000 litres of water is used during the show each year! 2,100,000 litres are used by the engines alone, along with 1,000,000 litres used for domestic and drinking purposes. 750,000 litres of all the water is brought onto site by tankers with a full time team of 6 workers during the show and for a week before.
Over 10 miles of electric cable are used with over 100 floodlights erected and 200 socket outlets placed. 30 large generators have to be hired each year and just one generator is powerful enough to supply electricity to a small village. Electricity has to be provided to 6 entertainment pavilions, 4 shower blocks and other marquees and to our administration and emergency services centre. they have 3 full time and one part time electricians on site.
Each year over 200 tonnes of coal are used.
Over 560 barrels of beer were drunk at last year’s show.
80 tonnes of wood will be cut in this year’s wood sawing section.
16 acres of corn is cut before the show starts by an old time binder with 10 large ricks erected in readiness for the threshing demonstrations. The reed from the demonstrations is then sold to local thatchers who use it on thatched cottages all over Dorset and the neighbouring counties.
The parish came into existence following the decision of the Diocesan Council, in the fall of 1998, following the repeated insistence of the faithful from the Drumul Taberei neighborhood, who were disappointed by the lack of places of worship in this neighborhood.
Thus, at the initiative of the priest Nicolae Burlan, a disassembled wooden church was brought from the Vicovul de Jos commune in Suceava county and reassembled on a plot of land belonging to the Ministry of National Defense located in Brașov Street, no. 21C, sector 6.
Later, interventions were made at the City Hall of the Capital, which ceded a 3000 square meter plot of land for the purpose of building a church and which was given in exchange to the Ministry of National Defense for the equivalent area on which the wooden church is already located.
The wooden church was consecrated by His Holiness Teodosie Snagoveanul, Vicar Bishop of the Archdiocese of Bucharest at that time, on July 26, 1998.
The shrine of the church is Saint Pious Parascheva, (in Greek "paraschevi" means "Friday") whom Orthodox Christianity celebrates on October 14 and whose Holy Relics are in the Metropolitan Cathedral of Iași.
Since the wooden church proved inadequate for the more than 1,000 believers from various neighborhoods who regularly participate in the Holy services, the decision was made to build a brick church, of larger dimensions absolutely necessary for a neighborhood like Drumul Taberei.
The plan of the new church belonging to the architect Florin Bucur Crăciun is in the form of an inscribed Greek cross.
From an architectural point of view, it fits into the style prefigured by the churches "Sfânta Sofia" in Constantinople and "Sfântul Nicolae Domnesc" in Curtea de Argeș.
A large central hemispherical dome dominates the spatial composition of the edifice.
A wide porch with six free and two engaged columns precedes the entrance.
Access to the church is through a portal with an arched frame, made of finely carved stone.
The vault is made up of 25 semi-arches, resting at the ends on two metal caisson rings, with other intermediate rings unfolding between them.
The covering of the altar, similar to the apses of the proscomidiary and the diaconicon, is made by a cone connected to a semi-cylinder.
On the opposite side, on the first floor, there is the cage which is accessed by stairs placed inside, in the northwest and southwest corners of the building, which also lead to the two balconies.
Early history
The site of Carisbrooke Castle may have been occupied in pre-Roman times. The existence of a ruined wall suggests that there was a building there in late Roman times. The Anglo-Saxon Chronicle mentions that Wihtgar, nephew of king Cynric, died in AD 544, and was buried there. The Jutes may have taken over the fort by the late 7th century. An Anglo-Saxon stronghold occupied the site during the 8th century. Around 1000, a wall was built around the hill as a defence against Viking raids.
Later history
From 1100 The castle remained in the possession of Richard de Redvers' family, and over the next two hundred years his descendants improved the castle with stone walls, towers and a keep. This was until 1293, when Countess Isabella de Fortibus, the last Redvers resident sold it to Edward I, after which the government was entrusted to wardens as representatives of the crown.
In the reign of Richard II it was unsuccessfully attacked by the French (1377) The castle was reputably saved by local hero Peter de Heyno who shot the French commander. Anthony de Wydville, Lord Scales, later Earl Rivers, obtained a grant of the castle and rights of Lordship in 1467. He was responsible for the addition of the Woodville Gate, now known as the Entrance Gate.
The keep was added to the castle in the reign of Henry I, and in the reign of Elizabeth I; when the Spanish Armada was expected, it was surrounded by an elaborate pentagonal fortification by Sir George Carey.
Charles I was imprisoned here for fourteen months before his execution in 1649. Afterwards his two youngest children were confined in the castle, and the Princess Elizabeth died there. Most recently it was the home of The Princess Beatrice, daughter of Queen Victoria, as Governor of the Isle of Wight, 1896-1944. It is now under control of English Heritage.
Carisbrooke was the strongest castle on the Island; though it is visible from some distance, it does not dominate the countryside like many other castles.
There are traces of a Roman fort underneath the later buildings. Seventy-one steps lead up to the keep; the reward is a fine view. In the centre of the castle enclosure are the domestic buildings; these are mostly of the 13th century, with upper parts of the 16th century. Some are in ruins, but the main rooms were used as the official residence of the Governor of the Isle of Wight until the 1940s, and they remain in good repair.
The Great Hall, Great Chamber and several smaller rooms are open to the public, and an upper room houses the Isle of Wight Museum. Most rooms are partly furnished, but on the whole it is the fireplaces and other features of the rooms themselves which generate the most interest.
One of the main subjects of the museum is King Charles I. He tried to escape from the castle in 1648, but was unable to get through the bars of his window.
The name of the castle is echoed in a very different structure on the other side of the world. A visit to the castle by James Macandrew, one of the founders of the New Zealand city of Dunedin, led to him naming his estate "Carisbrook". The name of the estate was later used for Dunedin's main sporting venue.
The Main Gate
The gateway tower was erected by Lord Scales who was lord of the castle at the time in 1464.
The Chapel
The chapel is located next to the main gate. In 1904 the chapel of St Nicholas in the castle was reopened and re-consecrated, having been rebuilt as a national memorial of Charles I. Within the walls is a well 200 feet deep and another in the centre of the keep is reputed to have been still deeper.
The Well-House
Near the domestic buildings is the well-house with its working donkey wheel. As it is still operated by donkeys, the wheel is a great attraction and creates long queues. The well is also famous as the hiding place of the Mohune diamond, in the 1898 adventure novel Moonfleet, by J. Meade Falkner. Wyndham Lewis, who lived on the Isle of Wight as a child, cites the donkey wheel at Carisbrooke as an image for the way machines impose a way of life on human beings ('Inferior Religions', published 1917).
The Constable's Chamber
The Constable's Chamber is a large room located in the castle's medieval section. It was the bedroom of Charles I when he was imprisoned in the castle, and Princess Beatrice used it as a dining room. It is now home to Charles I bed as well as Princess Beatrice's large collection of stag and antelope heads. This room was used as the castle's education centre up until recently.
The Earthworks
Surrounding the whole castle are large earthworks, designed by the Italian Federigo Gianibelli, and begun in the year before the Spanish Armada. They were finished in the 1590s. The outer gate has the date 1598 and the arms of Queen Elizabeth I.
Wikipedia